All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
She always gets a part
Seven years after the death of his wife, company executive Aoyama is invited to sit in on auditions for an actress. Leafing through the resumés in advance, his eye is caught by Yamazaki Asami, a striking young woman with ballet training.
Hoop-Tober #1: September of Darkness, The bleeding edge
This film is a truly proof that sound and images can be truly a hell; and Miike did a convenient hell in all conventions, dimensions and courage as a sledgehammer hits his audience in the skull and squeezing in our brain; the heart get stabbed and the mind meltdown; destroying and obliterating all the sense; the eyes and the ears and even the touch. It’s a very delirium experience and ultra sensory work. An auditory nightmare. A violent knock on the soul.
And the film begins with a grief; a very melodic music plays, almost melancholic a father and son look sadly to a woman dying in the bed; the gloomy sadness…
The psychological chiller unfolds at a slow and thoughtful pace! Revealing a story about a lonely widower in his search for the perfect wife!
Were pretty much stuck in in slow burn drama mode for the majority of the film! It may even leave you questioning whether or not this is really a Takashi Miike film!
He does however leave a few intriguing bread crumbs along the way to compel us to continue on with this nightmarish journey into madness!
The audience for the most part has been masterfully lulled into a false sense of security! Our guard is down and were all wishing for Miike mode to finally kick in!
Remember the ole saying..
"Be careful what you wish…
I'm glad I'm married because I'm never dating again.
Following Haneke’s Funny Games and Lynch’s Lost Highway, Audition was Takashi Miike’s contribution to a small movement of unsettling cinema in the late 90s as well as his international breakthrough.
Miike is comparable to Haneke in the moments where his action is filmed naturalistically without music or ominous lighting. In the scenes where he does use manipulative techniques his style is contrapuntal, televisual even, bizarrely playing out like a romantic drama. The film has many notable Lynchian qualities in its second half, with a skilful play between nightmare and reality. The momentary glimpses of the horrors to come are mysterious, even on repeat viewings, and the snippets of terror retain a sense of dread in the build up to the…
This review reportedly contains spoilers. I can handle the truth.
This film tells the story of a television producer, a young widower who decides to remarry at the request of his son and friend. Yet, the woman he finds (in a fake audition to a movie) is far from being what he expected. Audition is a sadistically unforgettable film where pain is the crucial key to happiness.
Knowing that this film was directed by the psycho turned filmmaker (Takashi Miike) was very heplful because, in a certain way, I knew what to expect, I knew that something weird would eventually happen in the course of the film. This is a very well built film that leaves you stuck to the screen from the beginning to the end, the plot is…
Another thriller/horror with an amazing twist at the end. Eastern cinema on top.
I'll just leave this here.
Personal opinion though? Many movie errors. Watch it when you are depressed. The ending will tell you to keep pushing on and not be a dick even in the worst of times.
I always have trouble stomaching male fantasy, even if, as in this case, the fantasy is turned into a nightmare. Still, the female character here has absolutely no lucid agency of her own, which doesn't so much exorcise the male audiences from their remarkable distance from women - which is to say that it's misogynistic from start till end. Okay, you might argue that it is the point of the film: to reduce the female lead to the most ridiculous ideal about "a good Japanese woman" then flip that ideal over. On paper, that might work, but seeing the film is to yawn at how comfortably constructed it is. The so-called "came out" version of Asami is just as ridiculous as her "obedient" version. How does that make a character organic? The film might serve as a sort of cautionary tale for male audiences, but it does not humanize or de-commodify women in their eyes in any particularly significant way.
A great film about obsession with one of the most effective and dramatic genre shifts ever, tied together by Miike's careful, deliberate pacing. The film starts as a drama about semi-dysfunctional characters, and once they commit to their foolish choices, the film becomes increasingly unnerving until the horrific ending is inevitable.
this was recommended to me by a kid in my rhet class and tbh i was underwhelmed. some parts were kinda gross but like ehh
Detractors say it's boring until the last 20 minutes. I admit that it's a slow build, but that didn't bother me at all. Getting to know the character more made the end more shocking. Some cringe-worthy moments, and she pulls it off with such calmness.
This movie is so well made it's creepy even before anything even really happens. Dripping with atmosphere, eerie tension and on the button acting.
Is it possible to see this movie and not know that there is a fireworks factory? There's probably no way to know about this movie without having encountered that image of Asami in an apron and elbow length gloves. But what if you could?
For a while it's a gentle movie about a single father and salaryman who is finally ready to move to a place past grief. Every frame, every filter, every shot works to get your sympathy with Aoyama so you don't hate him for going along with this repulsive deception. Miike takes every trick from flat melodrama because that is how Aoyama views his own life: a drama about an older man finding love again. Something is wrong, but only in glimpses.
When the wrongness overwhelms the movie, when we all finally arrive at the fireworks factory, it has shattered everything from character to chronology. Flat melodrama has bloomed to awful impressionism.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Donnie Darko
- Morvern Callar
- Irma Vep
- Miami Blues
- Babe: Pig in the City
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…
- A Page of Madness
- Un Chien Andalou
- L'âge d'or
- Meshes of the Afternoon
A big collection of films that might be considered as strange, mindfucking, surreal and weird. Sorted by year. Suggestions are…